Having followed Mad Men from the start, with initial enthusiasm[1] gradually tempered by the increasingly exposed triumphalist agenda,[2] I found the series finale, pumped (or pimped) by the network as “the end of an era,” Read more …

Having previously devoted previous volumes to Nietzsche and to Evola, for its third incarnation, “Hellas,” Aristokratia seemingly pauses to reflect on itself: what are arête, hoi aristoi and aristokratia?

I’ve frequently hammered at the notion that “weird fiction,” like its predecessor, Gothic, is an inherently conservative genre, not only in its themes – the persistence of the past, the reality of hierarchy, the inescapability of genetics and destiny – but also in its techniques; Read more …

“I’ve often wondered what happens to people when they get out of prison. People like you, I mean. Can they get jobs, do old friends rally around them? What if they never had any friends?” – Dial ‘M’ for Murder

No sooner had I hit “send” on my review of Only Lovers Left Alive,[1] Read more …